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47. Shubhendu Dashmunsi, “Lekhangkan Theke Harafsajya”, op.cit., Dhrubopad, 329.
48. Ibid., 313; Maksudur Rahman, Typography O Er Jothajotho Byabohar, M.F.A. dissertation,
(unpublished) Institute of Fine Art Library, University of Dhaka, 1990, 16; Shishir Kumar Dash,
‘Shahebder Thakur’, in C. Bandapadhhaya (ed.), op.cit., 75; Though Shishir Kumar Dash has stated
that the handwriting of Khushmat Munshi of Hooghly was considered the ideal for Halhed’s book
while Kalikumar Ray’s for Serampore press.
49. Barunkumar Mukhopadhyay, ‘Bangla Mudraner Charjug’, in C. Bandopadhyaya (ed.), op.cit., 100.
50. Maksudur Rahman, op.cit.,16.
51. B. Mukhopadhyay, op.cit., 102.
52. Dipankar Sen, ‘Bhabikaler Mudran’, in C. Bandopadhyay(ed.), op.cit.,387.
53. Syed Azizul Huq, Quamrul Hassan Jibon O Karma, (Dhaka 1998), 107.
54. Rachel Dwyer and Divia Patel, Cinema India,The Visual Culture of Hindi Film, (New Delhi 2002), 102.
55. Kiron Raha, ‘Calcutta Theatre 1835-1944’, in S.Chaudhuri (ed.) op.cit.,(New Delhi 1990), 187.
56. Ibid., 188.
57. Sreepantha, Bat-tala, op.cit., 78.
58. Anupam Hayat, Purano Dhakar Sangskritik Prasanga, (Dhaka:2001), 27; Muntasir Mamun, Unish
Shatake Dhakar Theater, (Dhaka:1979), 9-10; M. Mamun wrote, “The drama ‘Nildarpan’ was staged first
in Dhaka after being published from Dhaka as well. In 1860… even before ‘Nildarpan’, there had been
some acting in Dhaka. But it was done as a hobby. On the basis of the little information we have we can
only say that the theatre in Dhaka started its journey around 1860.”
59. A. Hayat, loc.cit.
60. Hakim Habibur Rahman, Dhaka Panchaash Bachhar Agey, translation: Dr. Md. Rezaul Karim,
(Dhaka:2005), 97
61. Anupam Hayat, op.cit., (Dhaka 2001), 69.
62. A. Hayat, Bangladesher Chalachchitrer Itihas, (Dhaka 1987), 6.
63. R. Dwyer and D. Patel, op.cit., 102.
64. The writer had an opportunity to go through some cinema booklets from the personal collection of former
cinema banner painter (now a film director), Azizur Rahman. Although the production houses were
mentioned there, the date or year was not. He said that these were from the 50s.
65. Subhash Dutta, Tomar Janya Bhalobasa, (Dhaka 2005),22.
66. Quite a number of cinema or song booklets from the Pakistan period are in the collection of Bangladesh
Film Archive.
67. Sreepantha, ‘Talowar Bonam Kolom: Prothom Shotoborshe’, in C. Bandopadhyaya (ed.), op.cit.,129;
Nikhil Sarkar, ‘Printing and the Spirit of Calcutta’, in S. Chaudhuri (ed.) op.cit.,128-129.
68. Sreepantha, Bat-tala, op.cit., 23.
69. Ibid., (Calcutta: 1997), 23-24.
70. Muntasir Mamun, op.cit., (2006), 111.
71. Loc.cit.
72. Partha Mitter, op.cit., 192. He put forward that there could be some hidden political message in this
lithograph. It might be a reason behind the posters being so popular.
73. A.T.M. Anwarul Kadir, “Daktikit Sangraher Khutinati”, The Daily Ittefaq, October 4, (2003).
74. Loc.cit., I the opportunity to see many stamps including these 8 from the collection of A.T.M. Anwarul
Kadir.
75. Loc.cit.
76. Muhammad Habibullah Pathan, Protnotattik Nidarshan: Wari-Bateshwar, (Narsingdi, 1989), 21-27;Shah
Sufi Mustafizur Rahman, “ Wari-Bateshwarey Prapto Kacher Punthi: Ekti Pratnatattik Samikkha”,
Protnotatta, Jahangirnagar University, Volume 9, June (2003), 2.
77. Khondoker Mahmudul Hasan, Mudra Itihas O Sangraha, (Dhaka 2002), 173.
78. An Interview with K.G.Mostafa, (Dhaka, December 17, 2005).
79. Ibid.
80. Khondoker Mahmudul Hasan, op.cit., 173-184.